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The Religious Art of Pablo Picasso
This is the first critical examination of Pablo Picasso's use of religious imagery and the religious import of many of his works with secular subject matter. Though Picasso was an avowed atheist, his work employs spiritual themesÑand, often, traditional religious iconography. In five engagingly written, accessible chapters, Jane Daggett Dillenberger and John Handley address Picasso's cryptic 1930 painting of the Crucifixion; the artist's early life in the Catholic church; elements of transcendence in Guernica; Picasso's later, fraught relationship with the church, which commissioned him in the 1950s to paint murals for the Temple of Peace chapel in France; and the centrality of religious themes and imagery in bullfighting, the subject of countless Picasso drawings and paintings.
The Religious Art of Andy Warhol
Two images of Andy Warhol exist in the popular press: the Pope of Pop of the Sixties, and the partying, fright-wigged Andy of the Seventies. In the two years before he died, however, Warhol made over 100 paintings, drawings, and prints based on Leonardo da Vinci's The Last Supper. The dramatic story of these works is told in this book for the first time. Revealed here is the part of Andy Warhol that he kept very secret: his lifelong church attendance and his personal piety. Art historian and curator Jane Daggett Dillenberger explores the sources and manifestations of Warhol's spiritual side, the manifestations of which are to be found in the celebrated paintings of the last decade of Warhol's life: his Skull paintings, the prints based on Renaissance religious artwork, the Cross paintings, and the large series based on The Last Supper.>
Style and Content in Christian Art
A profound and sympathetic introduction to the scope of Christian art, it is written in language simple enough for the lay person, and its length is almost ideally suited to its purpose.... This work is sound from the standpoint of art history and criticism as well as Christian thought and understanding. Liturgical Arts In 228 pages of lucid exposition, Mrs. Dillenberger presents an authoritative, yet untechnical, history of style in western art. Her time-span is Christian; her examples (all illustrated) are Christian in subject matter. Her analyses weigh subject and meaning (iconography) together with formal values (line, shape, mass, space, light and shade).... It is written for the intelligent, educated lay person seeking an understanding of art; it should appeal to Christian and non-Christian alike. Religious Education The title is honest, the approach logical and effective. The author knows what she is doing, both artistically and theologically. Often grubby matters like iconography, form, composition and meaning in works of art are clearly and interestingly handled.... It is a model of commonsense lucidity. Duke Divinity
A Theology of Artistic Sensibilities
For most of history, argues John Dillenberger, the visual arts were, for better or worse, part of the very fabric of the life and thought of the church. But with the Reformation and the Counter-Reformation a major change took place. Protestant rejection of the visual was matched in Roman Catholicism by the reduction of its formative power. While the visual arts dropped out of the lives of Protestant churches, they became a memory rather than a source of ennoblement or power in the Roman Catholic Church. Thus, in different but allied ways, Protestants and Catholics lost the power of the visual. Part art history, part historical theology, and part theological reflection, this book is both an a...
Spiritus Loci
In Spiritus Loci Bert Daelemans, who graduated as an architect and a theologian, provides an interdisciplinary method for the theological assessment of church architecture. Rather than a theory, this method is based on case studies of contemporary buildings (1995-2015), which are often criticized for lacking theological depth. In a threefold method, the author brings to light the ways in which architecture can be theology – or theotopy – by focusing on topoi (places) rather than logoi (words). Churches reveal our relationship with God by engaging our body, mind, and community. This method proves relevant not only for the way we perceive these buildings, but also for the way we use them, especially in our prophetic engagement for a better world.
Systematic Theology
Ethics, the first volume of McClendon's Systematic Theology, explored the shape of life in the Christian community. Doctrine, the second volume, investigated the teaching necessary to sustain that life. Witness, the third and final volume of the work, considers the wider context in which that life takes place. It asserts that the church's identity is established not only by how it lives and what it teaches but also by how it enters into conversation and connects with systems of thought and social structures outside itself. McClendon continues here his exploration of "the baptist vision," a tradition of the church's understanding of itself, its relation to Scripture, and its place in the larger society, which flows from the Radical Reformation of the 16th century. He employs that vision to engage in conversation with three principal partners: other theologies; current philosophy; and culture, including science and letters, the fine and performing arts, and politics--in short, what Scripture calls "the world."
Witness
Ethics, the first volume of McClendon’s Systematic Theology, explored the shape of life in the Christian community. Doctrine, the second volume, investigated the teaching necessary to sustain that life. Witness, the third and final volume of the work, considers the wider context in which that life takes place. It asserts that the church’s identity is established not only by how it lives and what it teaches but also by how it enters into conversation and connects with systems of thought and social structures outside itself. McClendon continues here his exploration of “the baptist vision,” a tradition of the church’s understanding of itself, its relation to Scripture, and its place in the larger society, which flows from the Radical Reformation of the 16th century. He employs that vision to engage in conversation with three principal partners: other theologies; current philosophy; and culture, including science and letters, the fine and performing arts, and politics—in short, what Scripture calls “the world.”
A Wounded Innocence
What is the theological significance of art? Why has the Church always encouraged the arts? What is so profoundly human about the arts? In A Wounded Innocence Alejandro R. Garcia-Rivera answers these questions in a series of sketches" that are mixed spiritual and theological reflections on various works of art written in a poetic style. These reflections explore the relationship between the multi-dimensional spiritual and the arts. The first *sketch, - *The Beginning of Art, - introduces the rest that go on to explore further the human, artistic, and theological implications of a wounded innocence. Each *sketch - reflects on a particular human work of art. Some are conventional works of art....
ReVisioning
ReVisioning: Critical Methods of Seeing Christianity in the History of Art examines the application of art historical methods to the history of Christianity and art. As methods of art history have become more interdisciplinary, there has been a notable emergence of discussions of religion in art history as well as related fields such as visual culture and theology. This book represents the first critical examination of scholarly methodologies applied to the study of Christian subjects, themes, and contexts in art. ReVisioning contains original work from a range of scholars, each of whom has addressed the question, in regard to a well-known work of art or body of work, "How have particular methods of art history been applied, and with what effect?" The study moves from the third century to the present, providing extensive treatment and analysis of art historical methods applied to the history of Christianity and art.
